Guillaume Dufay Ave maris stella Video
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2024-04-28
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Brighton Early Music Festival Léonin Guillaume Machaut Guillaume Dufay Josquin Prez John Sheppard Palestrina Duarte Lobo Heinrich Schütz Selig Henry Purcell Bach Thomas Ravenscroft Michael Wise Giovanni Gabrieli 1201 1300 1377 1397 1450 1474 1515 1521 1525 1555 1558 1563 1585 1588 1594 1612 1635 1646 1648 1659 1672 1685 1687 1695 1750 2018
On 21 st March 2018, Brighton Early Music Festival participated in the European Day of Early Music. ((http•••) We chose our programme to reflect our festival theme for 2018, EUROPE, which will celebrate 700 years of music from 17 European countries. We also decided to use the very oldest instruments – human voices – and featured the three choirs connected to the festival: BREMF Community Choir (BCC) The BREMF Singers BREMF Consort of Voices (BCV) It is particularly important to remember at this time, when anxieties and divisions over BREXIT are pulling communities and families apart, that music has always possessed great power to build bridges and connect people across political and national divides. Britain always has, and always will share strong cultural links with the rest of the Continent. This concert marked the opening of our annual appeal to support Brighton Early Music Festival 2018. We would be really grateful if you felt like making a donation for listening to the concert. Support us: (http•••) The Programme: 0:08 Anon c.900, Sancte Bonifati (BCV men) 2:18 Léonin fl.1150s–?1201, Haec dies (BCV women) 4:38 Codex Calixtinus (12th century), Resonet nostra Domino caterva (BCC) 8:02 Codex Calixtinus, Regi perennis 10:46 The Lewes Breviary (13th century), Dei testis egregius – hymn for St Pancras 14:22 The Lewes Breviary, Beate martyr prospera – hymn for St Pancras 20:09 Codex Calixtinus, Vox nostra resonet 21:05 Codex Calixtinus, Pour avoir mon Dieu propice 22:49 Guillaume de Machaut c.1300–1377, Kyrie from Messe de nostre Dame (BCV) 29:46 Guillaume Dufay c.1397–1474, Ave maris stella (alternatim with chant) 33:24 Josquin des Prez 1450–1521, Praeter rerum seriem 40:46 John Sheppard c.1515–1558, The Lord’s prayer 46:08 GP da Palestrina c.1525 –1594, Tu es Petrus – part 1 49:44 Duarte Lobo 1563–1646, Audivi vocem de caelo 57:45 Heinrich Schütz 1585–1672, Selig sind die Toten (BREMF Singers) 1:02:17 Henry Purcell 1659–1695, Hear my prayer O Lord 1:05:07 JS Bach 1685–1750 Jesu, meine Freude 1:28:19 English folk songs, King Herod and the cock (BCC) 1:30:18 English folk songs, Bold Reynard the fox 1:32:23 Thomas Ravenscroft 1588–1635 Sing we now merrily 1:33:59 Thomas Ravenscroft, Three country dances in one 1:36:55 Michael Wise 1648–1687, Counsel for married folks 1:40:52 Giovanni Gabrieli c.1555–1612, Regina caeli (All three choirs) Subscribe: (http•••) Website: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••)
Raurich Walter Frye Guillaume Dufay Gilles Binchois Jacopo Bologna Gherardello Firenze Squarcialupi 1320 1340 1362 1386 1397 1400 1460 1470 1474 1475 2021
Música en la Catedral. XI Edición. 2021 Sábado, 4 de septiembre de 2021 Catedral de Cuenca, 21:00 horas Órgano portativo y órgano de Anaya Cristina Alís Raurich Programa Organa quae inflantur follibus Música europea para órgano del gótico hasta el tiempo de los reyes católicos Parte 1 Repertorio interpretado en la réplica del órgano de la Capilla de Anaya de la Catedral Vieja de Salamanca Intabulaciones del códice de Buxheim (Alemania) Alemania, Munic, Bayerische Staatsbibliothek Mus. ms. 3725, de 1460-1470 Redeuntes en D – Cristina Alís Raurich (basado en el estilo de Buxheim) Tant apart (Tout a par moy) – Walter Frye (? – 1475) f. 163v Frankurgenti (Franc cuer gentil) – Guillaume Dufay (1397 – 1474) f. 62v-63r Esclaphe (Esclave puist yl devenir) – Gilles Binchois (ca. 1400 – 1460) f. 58r-v Portigaler (Or me veut bien esperance mentir) – Guillaume Dufay (1397 – 1474) f. 21r-v Intabulaciones del cancionero de Locham (Alemania) Alemania, Berlin, Staatsbibliothek zu Berlin Preussischer Kulturbesitz Mus 40613, de 1452 Mein hercz in hohen freuden – Georg de Putenheim p. 84-86 (sin título) – Wilhelmus Legrant (1406 – 1449) p. 88-89 Mit ganczem willen – Anon. p. 72-73 Intabulaciones del códice Faenza (Italia) Italia, Faenza, Biblioteca Comunale 117, del primer cuarto del s. XV Aquila altera – Jacopo da Bologna (1340 – ca. 1386) f. 73r-74v Ave maris stella – disminuciones sobre canto gregoriano f. 96v-97r Benedicamus domino – disminuciones sobre canto gregoriano f- 57r-58r Intabulaciones de los fragmentos de British Library Add. 28550 (Inglaterra) Inglaterra, Londres, British Library Add. 28550, fragmentos, segunda mitad del s. XIV Flos vernalis – Anon. f.44v (Sin título) (Estampie) – Anon. f.43r Parte 2 Repertorio interpretado en la reconstrucción de un modelo de órgano portativo del s. XIII I’vo bene a chi vuol bene a me – Gherardello da Firenze +••.••(...) – 1362-63) Italia, Florencia, Biblioteca Laurenziana, Palatino 87 (Squarcialupi), s. XIV, f. 29r Saltarello – Anon. Inglaterra, Londres, British Library, Add. 29987, s. XIV, f. 62 v Cetus apostolici – Anon. Burgos, Monasterio de Las Huelgas, Ms IX, s. XIII-XIV, f. 57v-58v Esbahiz en lonc voiage – Pierre de Corbie (s. XII – XIII) Francia, Paris, Bibliothèque National de France, français 844, Manuscrit du Roi, s. XIII, f. 21r Quarte Estampie royal – Anon. Francia, Paris, Bibliothèque National de France, français 844, Manuscrit du Roi, s. XIII, f. 104r
Josquin Prez Philippe Caillard Feller Freer Reese Peter Phillips Fuller Guillaume Dufay 1450 1521 1539
*Sounds a minor third higher than score* Missa Pange Lingua Composer: Josquin des Prez (ca. 1450 - 1521) Performers: Ensemble vocal Philippe Caillard Score editor (Agnus Dei II): Paul-Gustav Feller Kyrie: 0:00 Gloria: 3:13 Credo: 7:37 Sanctus: 14:53 Benedictus: 19:11 Agnus Dei: 22:34 / "[...] Pange lingua was a late work, possibly Josquin’s last mass-setting, not published until after his death, in 1539. The change in style is immediately apparent. In the middle of his life, Josquin often liked to tax his powers of invention by setting himself difficult puzzles to solve, but later he relaxed until he came to perfect a freer kind of music. In the case of Pange lingua, widely acknowledged as one of his masterpieces, this freedom takes the form of ‘a fantasy on a plainsong’ (Gustave Reese). In both settings Josquin’s mastery of vocal texture may be fully admired: many of his contemporaries needed five or six voices to achieve the kind of sonority which he could conceive with four. By taking a plainsong melody for his setting entitled Pange lingua, Josquin gave himself much more scope than in La sol fa re mi. However, he decided to extend this freedom by writing such expansive vocal lines that it is sometimes impossible to tell whether the melody is being ‘paraphrased’ or not. At any rate it was in this work that Josquin finally made the art of imitation, by which all the voices must be treated as being equal, of primary importance. This technique had profound repercussions for later Renaissance music throughout Europe. The Pange lingua chant was originally intended as a hymn for the feast of Corpus Christi. It may be heard clearly in Josquin’s setting in the soprano part of the final Agnus Dei where it at last emerges in recognizable form. Elsewhere it tends to be the soprano part which makes the most obvious references to the melody, for instance in the Kyrie, at the beginning of the Gloria and at the ‘Et incarnatus est’. For the rest, fragments appear and disappear, either forming part of longer, quite new melodies, or abbreviated into one of Josquin’s characteristically terse rhythmic units. In this way he achieved the variety of expression which has led to this mass being so widely admired." ~Peter Phillips Source: (http•••) "The hymn on which the mass is based is the famous Pange Lingua Gloriosi, by Thomas Aquinas, which is used for the Vespers of Corpus Christi, and which is also sung during the veneration of the Blessed Sacrament. The mass is the last of only four that Josquin based on plainsong (the others are the Missa Gaudeamus, a relatively early work, the Missa Ave maris stella, and the Missa de Beata Virgine; all of them involve, in some way, praise of the Virgin Mary). The hymn, in the Phrygian mode, is in six musical phrases, of 10, 10, 8, 8, 8, and 9 notes respectively, corresponding to the six lines of the hymn. The work is tightly organized, with almost all of the melodic material drawn from the source hymn, and from a few subsidiary motifs which appear near the beginning of the mass. As such, the Missa Pange lingua is considered to be one of the finest examples of a paraphrase mass. [...] Josquin uses imitation frequently in the mass, and also pairs voices; indeed there are many passages with only two voices singing, providing contrast to the fuller textures surrounding them. While the movements begin with quotations from the original, as the movements progress Josquin treats the Pange lingua tune so freely that only hints of it are heard. Several passages in homophony are striking, and no more so than the setting of "et incarnatus est" in the Credo: here the text, "...he became incarnate by the Holy Ghost from the Virgin Mary..." is set to the complete melody from the original hymn which contains the words "Sing, O my tongue, of the mystery of the divine body." Rather than being a summation of his previous techniques, as can be seen in the last works of Guillaume Dufay, Josquin's mass synthesizes several contrapuntal trends from the late 15th and early 16th centuries into a new kind of style, one which was to become the predominant compositional manner of the Franco-Flemish composers in the first half of the 16th century." Source: (http•••) / For education, promotion and entertainment purposes only. I do not own rights to the score or the performance. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
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